It's filled with motifs from his European works but the Broadway-musical direction he was headed in (because he had no choice) is very clear: the very bright big band sound, hammy Anglo voices, silly names like Minnie Belle. The second one is a little too orchestrated for my taste, but it does contain Le Roi d'Aquitaine, one of Weill's loveliest songs but for some reason rarely recorded.Įarly this morning I listened to more Weill, "The music for Johnny Johnson", the first work he staged in America. (It's also mentioned in several novels and memoirs of the period, for example Edmund White's The Farewell Symphony. I'm not fond of operatic voices outside their natural habitat and the two Stratas albums of Weill's songs are the only such examples I have-the first album, "The unknown Kurt Weill" from 1981, made a big hit at the time.
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